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One piece from a twelve-place setting of dining cutlery commissioned from Mackintosh by Fra and Jessie Newbery.

One piece from a twelve-place setting of dining cutlery commissioned from Mackintosh by Fra and Jessie Newbery.

This item was assessed for conservation in 2010 as part of the Mackintosh Conservation and Access Project (2006-2010).
Designed for Windyhill, Kilmacolm. A letter from Mackintosh to Davidson states that two of these chairs were intended for the main bedroom, but Annan photographs of the time show one in the bedroom and one in the drawing room at Windyhill.

One piece from a twelve-place setting of dining cutlery commissioned from Mackintosh by Fra and Jessie Newbery.

Designed for entrance hall, Glasgow School of Art.
This item was assessed for conservation in 2010 as part of the Mackintosh Conservation and Access Project (2006-2010).

Designed for 120 Main Street, Glasgow. An armchair version of F14 possibly one of a pair made for Mackintosh's Mains Street flat. In the 1899 Art & Craft exhibition Mackintosh showed an armchair with 'lacquer panel by Miss Margaret Mackintosh'. The only chair which fits this description is the one in Copenhagen which was bought by Koloman Moser at the Vienna Secession exhibition in 1900. The GSA chair is identical but lacking the lacquer plaque. It was possibly made later c1901 as a replacement for that bought by Moser. This item was assessed for conservation in 2010 as part of the Mackintosh Conservation and Access Project (2006-2010).

Designed for use in Mackintosh's own flat in Mains Street, Glasgow.
This item was assessed for conservation in 2010 as part of the Mackintosh Conservation and Access Project (2006-2010).

This item was assessed for conservation in 2010 as part of the Mackintosh Conservation and Access Project (2006-2010).
Designed for the (new) Board Room, Glasgow School of Art.

Designed for entrance hall, Glasgow School of Art.
This item was assessed for conservation in 2010 as part of the Mackintosh Conservation and Access Project (2006-2010).

Designed for the schoolroom at Windyhill, Kilmacolm. A smaller, but otherwise identical version of the hall bench MC/F/30. This item was assessed for conservation in 2010 as part of the Mackintosh Conservation and Access Project (2006-2010).

Designed for the Director's Room, Glasgow School of Art. One chair reupholstered in blue/black horsehair 1970s, One chair reupholstered in brown horsehair 1984 and repaired. This item was assessed for conservation in 2010 as part of the Mackintosh Conservation and Access Project (2006-2010).

This item was assessed for conservation in 2010 as part of the Mackintosh Conservation and Access Project (2006-2010). Designed for The Dug-Out, Willow Tea Rooms, Glasgow. One of a set of tea tables for the Dug Out. Such a table can be seen in Mackintosh's design for the Rest Room.

This item was assessed for conservation in 2010 as part of the Mackintosh Conservation and Access Project (2006-2010).
Designed for the (new) Board Room, Glasgow School of Art. A more elaborate version of the chairs designed for the original Board Room in 1899 (MC/F/18).

This item was assessed for conservation in 2010 as part of the Mackintosh Conservation and Access Project (2006-2010).
Designed for Gladsmuir, Kilmacolm. Two tables and two benches were made for the schoolroom at Gladsmuir, probably at the same time as the bookcase. The thistle motif pierced in the sides of the legs of the benches is repeated in the leaded glass of the bookcase.

A small rectangular table on plain square legs designed as an extension to dining table MC/F/108. This table was commissioned by William Davidson after he moved into 78 Southpark Avenue in 1919. Davidson purchased this house and some of its furniture from Mackintosh when the latter moved to London. In later years the table was referred to as a side table. This item was assessed for conservation in 2010 as part of the Mackintosh Conservation and Access Project (2006-2010).

One of a set of four panels shown at the Exhibition of Modern Decorative Art in Turin in 1902.

One of a set of four panels shown at the Exhibition of Modern Decorative Art in Turin in 1902.

One of a set of four panels shown at the Exhibition of Modern Decorative Art in Turin in 1902.

This item was assessed for conservation in 2010 as part of the Mackintosh Conservation and Access Project (2006-2010).
Designed for the Blue or Chinese Room at the Ingram Street Tea Rooms, Glasgow. The fretted back and side rails match the Chinese style motifs of the Blue Room (as called in the job books). Much of the woodwork in the Chinese Room was painted bright blue or red, but there is no trace of any finish having been applied to these chairs other than the ebonising which most of them still display. These chairs have always been associated with the Chinese Room and so must be identified with the entry for thirty-six in the job books (Roger Billcliffe). All the chairs rwere eupholstered in blue horsehair in 1985. The Ingram Street Tea Rooms were purchased by Glasgow Corporation in 1951 for £25,000 and were then rented out as various shops and warehouses.

An Art-Lover's house competition. Portfolio published 1902. In 1901 the Zeitschrift fur Innen-Dekoration of Darmstadt organised an international competition for the design of an Art Lover's House. The 1st prize was shared among 16 entrants, Baillie Scott recieved 2nd prize and 3rd prizes were also awarded. Mackintosh's entry was disqualified as his interior drawings were not finished in time for the competition deadline, but when they arrived he was awarded a special purchase prize of 600 marks by the publishers. The original drawings cannot now be traced, but in 1902 Alexander Koch published them as a portfolio in 'Meister Der Innenkunst' with an introduction by Herman Muthesius. A portfolio was presented by Mackintosh to the GSA and a 2nd set of prints, framed, is in the GSA collection.The central feature of the house is the large hall - two storeys high - communicating directly with the dining room, reception and music room, which can be adapted to provide a stage. On the South side a terrace room runs outside the reception and music room. On the North side are the entrance, the hall and dining room, which are separated by a moveable partition. On the upper floor, the principal bedroom suite is partitioned off in the South-East corner; numerous guest rooms are provided and a playroom is in the attic above the childrens' bedrooms. The kitchen and servants' rooms are in the basement.

An Art-Lover's house competition. Portfolio published 1902. In 1901 the Zeitschrift fur Innen-Dekoration of Darmstadt organised an international competition for the design of an Art Lover's House. The 1st prize was shared among 16 entrants, Baillie Scott recieved 2nd prize and 3rd prizes were also awarded. Mackintosh's entry was disqualified as his interior drawings were not finished in time for the competition deadline, but when they arrived he was awarded a special purchase prize of 600 marks by the publishers. The original drawings cannot now be traced, but in 1902 Alexander Koch published them as a portfolio in 'Meister Der Innenkunst' with an introduction by Herman Muthesius. A portfolio was presented by Mackintosh to the GSA and a 2nd set of prints, framed, is in the GSA collection. When the dividing partition between the reception and music rooms was removed, these two elevations would have faced each other. The piano with its fantastic superstructure, is on of Mackintosh's most elaborate inventions, based on the organ at Craigie Hall (Roger Billcliffe). 'This instrument is before everything else a piece of decorative art, and is designed to match the rest of the room... four tall corner posts, crowned with groups of figures and reaching to the ceiling, form a sort of baldachin round it. The front is composed of an oval framework containing a tall thin female figure flanked by roses, with a pair of doves meeting overhead. This fanciful composition is supported artistically by two large decorative panels on the walls on either side of the piano, representing two highly spiritualised Astarte-like figures.' (Muthesius). The large projecting fireplace on the opposite wall is a more elaborate version of that in the Mains Street drawing room. Its decoration consists principally of a pair of tall upright candelabra; the inlaid panels above are by Margaret Macdonald.

The library was destroyed by fire on 23 May 2014, though many metal and glass fragments from the lights were subsequently salvaged. Originally, and according to Mackintosh’s preparatory sketches, there were thought to be 53 individual lights in the library, each with punched holes in the inner reflectors which allowed light to pass through blue and purple glass. The central array was made up of 12 small canisters attached to the light frame on the ceiling, with eight medium pendants and five large pendants hanging below. There were an additional twelve medium canisters attached to the coffered ceiling both above and below the library balcony, making 24. Originally there were also four additional medium hanging pendants in each of the south and western window bays, though these four lights, and the medium canister in the librarians office, had all been removed before the fire in 2014, meaning there were 48 in the library. This small selection of salvaged lights fragments has been retained as evidence of the fire tragedy. These fragments are also surplus to the needs of Rodney French of Lonsdale and Dutch, Edinburgh who has been tasked with reconstructing the entire set of library lights, whilst reusing as much of the surviving fragments as possible.

Designed for Miss Cranston's Ingram Street Tea rooms, Glasgow. The Ingram Street Tea Rooms were purchased by Glasgow Corporation in 1951 for £25,000 and were then rented out as various shops and warehouses.

Designed for Miss Cranston's Ingram Street Tea rooms, Glasgow. The Ingram Street Tea Rooms were purchased by Glasgow Corporation in 1951 for £25,000 and were then rented out as various shops and warehouses.